Speaker 1: This is Alec Baldwin and you're listening to Here's the
Speaker 1: Thing from I Heart Radio. When I think back to
Speaker 1: the early days of the pandemic and those moments when
Speaker 1: we started to grasp the severity of what was happening,
Speaker 1: a particular date stands out March twelve, two thousand twenty,
Speaker 1: the night Broadway theaters went dark around the same time,
Speaker 1: movie theaters closed as well, and while there has been
Speaker 1: little to replace live theater, many of us have gotten
Speaker 1: used to streaming movies at home, very used to it.
Speaker 1: Today we're talking about the future of the movie industry
Speaker 1: and Broadway. Later, we'll talk with Pamela McClintock, senior film
Speaker 1: writer at The Hollywood Reporter. She's covered the movie industry
Speaker 1: for decades. But first I'll be talking with Bob Winkel,
Speaker 1: CEO of the Schubert Foundation and perhaps the most powerful
Speaker 1: business person on Broadway today. In the history of the
Speaker 1: Broadway theater, there are a few organizations as storied as
Speaker 1: the Schubert's, founded by the three Schubert brothers in the
Speaker 1: late eighteen eighties, the Schubert Organization owns seventeen of Broadways
Speaker 1: for theaters, and Broadway is big business, bringing in billions
Speaker 1: each year and employing nearly one hundred thousand people. Despite
Speaker 1: how powerful he is in the business, Bob Wankel says
Speaker 1: that while growing up on Long Island, his family didn't
Speaker 1: go to see Broadway shows that often occasionally, but I
Speaker 1: certainly would not say I was a theater rat. And
Speaker 1: I came to Sherbert because I worked for the public
Speaker 1: accounting firm that ordered the Sherbert Organization. And that's how
Speaker 1: I got the job, and that's how I've been here
Speaker 1: for forty six years. And you've outlasted everybody I have outlasted.
Speaker 1: I don't want to make light of the fact that
Speaker 1: your colleague passed away. Phil Smith were recently yet great guy,
Speaker 1: somebody who I've met many times, and he was a
Speaker 1: lovely guy. When you come to the Schubert Organization, you
Speaker 1: started with them. When V now explain to people the
Speaker 1: significance of the distinction of the Schubert Organization, meaning it's
Speaker 1: different from the Needle Landers, it's different from ju Jamsen
Speaker 1: and has a similar mission to make money and to
Speaker 1: produce Broadway shows, but it's different. How it's different because
Speaker 1: it's owned by the Sherbert Foundation. The Sherbert brothers. When
Speaker 1: they died, they left all of their assets after they
Speaker 1: took care of the family to the Sherbert Foundation. And
Speaker 1: Subert Foundation is dedicated to the preservation of the arts
Speaker 1: in this country and we give away thirty two million
Speaker 1: dollars a year or so, or last year we gave
Speaker 1: away thirty two million dollars to five thirty not for
Speaker 1: profits across the country. Now does just confine ourselves to
Speaker 1: Broadway in New York. The houses that you own, they're
Speaker 1: not retail spaces where people show up with a check
Speaker 1: in their hand and they just rent the space. You
Speaker 1: want your tenants. You want to partner with them to
Speaker 1: make sure that people that are in there are successful
Speaker 1: correct correct. Described to me the process by which the
Speaker 1: organization that's creatively the prospective tenants, we actually decide what
Speaker 1: shows are going to play in our houses. Plenty of
Speaker 1: producers come to us, but in the end we get
Speaker 1: to decide which shows we're going to book. And that
Speaker 1: process in recent years is being done by our creative
Speaker 1: VP and myself does the Shubert Organization try to find
Speaker 1: and hire people who have the greatest acumen as to
Speaker 1: what's going to work on Broadway and what's not. Let's
Speaker 1: face it, it's very challenging what works on Broadway and
Speaker 1: what doesn't. You could go in with the best possible
Speaker 1: creative team and the best possible title and it just
Speaker 1: doesn't fly. And that's happened many times that shows just
Speaker 1: don't work. I mean, obviously, it's always wonderful to be
Speaker 1: able to book a show that's a big hit in
Speaker 1: the UK because you already know it has an audience,
Speaker 1: and even though when you transfer them, what worked in
Speaker 1: the UK does necessarily work here. We're looking, obviously to
Speaker 1: have shows that are going to run, and sometimes we're
Speaker 1: dealing with creative people and we want to give people
Speaker 1: a chance, and we want to give new producers a chance.
Speaker 1: So there's lots of reasons why we book shows, not
Speaker 1: always that we think everything is going to be a hit,
Speaker 1: but we own the most playhouses, and so if you
Speaker 1: have a play most of the people come to Subert
Speaker 1: because we have all of the smaller houses, even though
Speaker 1: there's many musicals and some of those playhouses. Now, when
Speaker 1: you mentioned the pipeline, if you will, between London and
Speaker 1: New York, are those negotiations usually pretty standard in terms
Speaker 1: of who's doing who a favor? When Andrew Lloyd Webber
Speaker 1: is printing money over there and calls you, is Andrew
Speaker 1: Lloyd Webber doing you a favor or you doing him
Speaker 1: a favor? Or is it mutually? Back scratching here, I'm
Speaker 1: going to say it's a mutual. I mean, we've had,
Speaker 1: we've enjoyed the benefit of most of Andrew's shows here
Speaker 1: in New York, and we are certainly talking to Andrew
Speaker 1: about his new show which is going to open in
Speaker 1: the UK in May or June, called Cinderella. Well, obviously
Speaker 1: are talking to him about the show for New York
Speaker 1: and for people that aren't the pillars of that whole world.
Speaker 1: When others are coming to you to do shows, what
Speaker 1: is the basic understanding about who gets your attention? Is
Speaker 1: it all about relationships? Well, relationships are important, but as
Speaker 1: I say, we like to give new producers an opportunity,
Speaker 1: and since we have the most houses, we have the
Speaker 1: luxury of doing that. And we've certainly booked many a
Speaker 1: show from new producers, and we are focused on that
Speaker 1: for when we come back to bring in some new
Speaker 1: shows with some new producers. So it's a combination. It's
Speaker 1: a combination of availability of the buildings. It's when the
Speaker 1: show is going to be available, what size house they need.
Speaker 1: There's a lot of factors that go into the decision,
Speaker 1: but you know variety. We like to go across the board.
Speaker 1: I must say, as you're talking and I'm thinking about
Speaker 1: this idea of houses and sizes, and people would say
Speaker 1: to me, we would do a show. The first time
Speaker 1: I was on Broadway was to do Loot. It was
Speaker 1: my first time I'm Broadway, and they said, oh, now,
Speaker 1: wonderful for you. You're in the music Box, which is
Speaker 1: just the most wonderful theater. And then when I did
Speaker 1: street Car, they were like, and you're in the Barrymore,
Speaker 1: just the perfect theater for the film Williams and everybody's
Speaker 1: sense of the houses and the individual identities of the houses,
Speaker 1: do you find that's true to each of those houses
Speaker 1: have their own identity. They do, and many directors and
Speaker 1: creative teams they would prefer particular house that they believe
Speaker 1: works for their show. Much more challenging these days because
Speaker 1: the demand for theaters has been so great, so therefore
Speaker 1: many people will take houses not their first choice. But
Speaker 1: music Box is one of the great musical and playhouse theaters,
Speaker 1: as is the Barrymore and you played the Shawnfell too,
Speaker 1: as I recall, so you've played some really good house
Speaker 1: played the show. Now that you mentioned that, I must
Speaker 1: say the reason I love Broadway as you do tap
Speaker 1: into this history and you do experience, especially when I
Speaker 1: was younger and it was more wide eyed about it all,
Speaker 1: and you do come across not a lot, but there's
Speaker 1: enough characters, as you well know, colorful characters in the
Speaker 1: Broadway world, none more so than Jerry. Yep, he was
Speaker 1: one of my great mentors. I'll only tell one Jerry's
Speaker 1: story here, maybe two, which was when I got sick
Speaker 1: doing street Car and Jerry would call me up and go,
Speaker 1: my boy, how are you feeling, And I'd say, I'm
Speaker 1: really sick, Jerry, I had the flu. I missed three
Speaker 1: shows one weekend and I didn't realize it's I mean,
Speaker 1: I knew, but in an own the urgency of when
Speaker 1: you're one of the leads in the show, when you're
Speaker 1: out of the show and Jerry calls it, he goes,
Speaker 1: I was wondering if I should send over one of
Speaker 1: my doctors to examine you, would make sure you're okay.
Speaker 1: And I said, no, Jerry, I'm okay. I'm gonna I'm
Speaker 1: gonna think I'll be okay by tuesday. I'll be back tuesday.
Speaker 1: I'm really said, all right, my boy, you get to
Speaker 1: bed and drink plenty of orange juice and get your rest.
Speaker 1: And he was such a character. My next question for
Speaker 1: you is how Broadway has changed in your mind, which
Speaker 1: is a very broad question. It seems to me that
Speaker 1: some of the cannon, if you will, the real classics
Speaker 1: of drama especially and some of the musical theater have
Speaker 1: been assigned, perhaps to the not for profit world. That
Speaker 1: it's not necessarily as easy to bring Iceman Cometh, even
Speaker 1: if you have the real Piston and the engine there
Speaker 1: with Nathan or someone like that to play that great role.
Speaker 1: That a lot of these real war horses in the
Speaker 1: of the dramatic theater are not as represented on Broadway
Speaker 1: as they used to because they're too whisky. Do you
Speaker 1: agree or not? When you put a big star in
Speaker 1: them and they play for twenty weeks, they do really well.
Speaker 1: And we've certainly had all of those classics in our
Speaker 1: buildings over the years. It's all about since so many
Speaker 1: people have seen the show it's about the star power
Speaker 1: that is performing it. And those are shows that acquire
Speaker 1: great performers, so they've done very well. I mean they're
Speaker 1: not for profits to some of them. But to get
Speaker 1: the star power is that the problem? Do you guys
Speaker 1: ever sit down when you're mulling over who's going to
Speaker 1: come in with what show? And why do you mull over?
Speaker 1: You're going to take a chance on somebody in the
Speaker 1: lead who isn't necessarily as big as star as you
Speaker 1: might like for your comfort level. It depends on the show.
Speaker 1: There are shows that don't need star power, it's more
Speaker 1: about the show. And then there's shows that the star
Speaker 1: is an insurance policy, and everybody likes insurance policies because
Speaker 1: the cost of even doing a revival of one of
Speaker 1: those classics has really gotten to be very expensive and
Speaker 1: it's only going to run for sixteen or twenty weeks,
Speaker 1: and everybody wants to recoup their money. The star power
Speaker 1: is important to certain shows, and other shows create stars.
Speaker 1: I'll use music Man and Jackman as an example. Sometimes
Speaker 1: the show is announced with a star and I'll sit
Speaker 1: there and think, my god, people still want to go
Speaker 1: see that show? They do, but they like the fact
Speaker 1: has your judgment and it's going to make a big difference,
Speaker 1: and it will be you know, a giant, mega hit.
Speaker 1: Good advance on that show. Absolutely, they're coming back in
Speaker 1: what after the first of the year. There are schedule
Speaker 1: to start performances in December. Most of our shows are
Speaker 1: coming back. Now. Is there been a change in the
Speaker 1: economics of Broadway? Like do you sit there and go?
Speaker 1: It's more expensive. These tickets are more expensive. We can
Speaker 1: take less risks because of the demographic of the audience.
Speaker 1: There's no question the tickets are more expensive. But the
Speaker 1: cost of producing is really very expensive. We're sixty labor.
Speaker 1: The cost of doing new musicals is anywhere between fifteen
Speaker 1: and twenty million dollars to put it on the stage.
Speaker 1: Plays are between four and a half and five million
Speaker 1: dollars to put it up for sixteen weeks, and then
Speaker 1: the operating courts will kill you what they need to
Speaker 1: gross in order to pay the bills. So it's expensive.
Speaker 1: But there's no better form than a live show in
Speaker 1: the a action between the performers and the audience. Whi's
Speaker 1: why our attendance is booming. We've had record attendance for
Speaker 1: a number of years now, So everybody wants to come
Speaker 1: to theater. They're doing it on the road. The road
Speaker 1: theater businesses through the roof. Also, people want human interaction
Speaker 1: when they go out for entertainment. This is kind of
Speaker 1: an obvious remark, especially to somebody like you, But I
Speaker 1: find that there this is no comparison to being there
Speaker 1: live and seeing that coming out of someone's body live. No,
Speaker 1: there's no That's why that human interaction. I mean, you
Speaker 1: get a different performance every night now, you sure can. Well,
Speaker 1: you're the performers are playing to a different audience every night. Now.
Speaker 1: One thing that I'm wondering from you, how it's changed
Speaker 1: or not changed, is the significance of reviews and press.
Speaker 1: Of course, the Times is one example, and the Tony
Speaker 1: Awards themselves. Those are important components positive Times, positive Tony nominations.
Speaker 1: Everybody wants to get great notices because great notices helps sells.
Speaker 1: But that's why people spend a great deal of money
Speaker 1: marketing the show's up front, because if you build a
Speaker 1: big enough audience, then you can let the word of
Speaker 1: mouth really be the key factor in selling shows. And
Speaker 1: I think word of mouth is probably one of the
Speaker 1: most important reasons people go to see shows. You've got
Speaker 1: to please the consumer. You got to put on a
Speaker 1: good show, and the consumer has to like it, and
Speaker 1: the consumer has to say, you must go see Mr Baldwin.
Speaker 1: Is the Times as significant as it used to be?
Speaker 1: It's not as much as it is anymore. Why do
Speaker 1: you think, Well, because the readership is. People get so
Speaker 1: much of their news and stuff online and social media
Speaker 1: and all of these things. Everybody wants a great New
Speaker 1: York Times review because it's still the New York Times.
Speaker 1: It's still considered the cultural paper. And when they give
Speaker 1: a great notice, it usually shows up in the box
Speaker 1: office instantly. As far as the Tonys are concerned, do
Speaker 1: you see where you would like to see changes in
Speaker 1: how the Tonys are presented, awarded, calculated? Well, No, we
Speaker 1: seem to think the system is pretty good. You do
Speaker 1: we do? You do? Do? We think that there's enough
Speaker 1: voters and the administration committee and the nominating committee have
Speaker 1: spent a lot of time and focus on that, And
Speaker 1: the integrity of the awards are we think are good?
Speaker 1: And the diversity of that committee and the diversity of
Speaker 1: that pool of people. If that's something you'd like to
Speaker 1: see change, it has been changing. It has, Yes, absolutely,
Speaker 1: the diversity has been being worked on and the diversity
Speaker 1: has changed. We think the nominating committee is really a
Speaker 1: very good, distinguished group of people. In my life. March
Speaker 1: twelfth of last year was nine eleven. That was the
Speaker 1: day everything shut down. I was doing a TV show.
Speaker 1: We were in rehearsals. We shut down. They said, go home,
Speaker 1: take me through the thinking. Did you go on stages?
Speaker 1: Did you think we're going to reopen in June, July, September?
Speaker 1: Were you stumbling along thinking or did you know? Did
Speaker 1: you have an access to information, government whatever? Because it's
Speaker 1: such so much money involved with your business that this
Speaker 1: was going to be the long haul now in actuality,
Speaker 1: when we closed on March twelfth, our initial closure was
Speaker 1: for four weeks through April twelve, and then we extended it.
Speaker 1: We certainly did not realize that we would be closed
Speaker 1: for a year or probably a year and a half
Speaker 1: before we come back. So when it didn't happen for
Speaker 1: July fourth, we focused on Labor Day. Then we focused
Speaker 1: on the holidays. But obviously, as Corona got worse across
Speaker 1: the country because of how many people we put in
Speaker 1: the buildings that we were concerned that would take a
Speaker 1: while before we could come back, and so we were
Speaker 1: the first to go down and will probably be amongst
Speaker 1: the last to reopen because we need to open at
Speaker 1: almost capacity. We can't really deal with social distancing. The
Speaker 1: economics of our business don't work. I got an email
Speaker 1: I was people reached out to me. I was amazed
Speaker 1: at the level of participation and enter g surrounding a
Speaker 1: benefit to save the West Bank Cafe. And where all
Speaker 1: the great network of Broadway related. It doesn't matter what
Speaker 1: it is, whether it's also Joe Allen Day's artiste, and
Speaker 1: all the great Broadway saloons and restaurants and so forth,
Speaker 1: all of them struggling and hurting desperately, including the staffs
Speaker 1: of all these facilities, no question. And I was wondering
Speaker 1: did the Shubert Foundation Was there any discussion about giving
Speaker 1: money to these people who worked for you know, the
Speaker 1: foundation doesn't do those kind of grants. As I say,
Speaker 1: it's focused on the performing arts. I mean, obviously we
Speaker 1: the industry has worked hard to help many people within
Speaker 1: the deal and the Actors Fund has been a great
Speaker 1: support to those that are really in trouble. We've worked
Speaker 1: on getting government packages. I think you're going to see
Speaker 1: the new Cares package is going to be very helpful.
Speaker 1: For the first time. The package is going to support
Speaker 1: the commercial theater, the commercials. It has never received federal
Speaker 1: grants before, so hopefully we're our concern about getting everybody back,
Speaker 1: and we've worked as a community to try. We've got
Speaker 1: so many tasks, force everything going through the Broadway League
Speaker 1: because the whole community is on it. We're very anxious
Speaker 1: to bring everybody back. And if you've been in Times Square,
Speaker 1: you will see Without Broadway, Times Square is just effectively closed.
Speaker 1: It's a very small part of New York City, but
Speaker 1: it's fifteen percent of its economy. Because we bring fifteen
Speaker 1: million people to the theater, they spend a great deal
Speaker 1: of money. They go to the hotels, the restaurants. We
Speaker 1: directly and indirectly support nine thousand people. So Broadway is important.
Speaker 1: Many people don't realize that in New York the real
Speaker 1: pillars of the economy in a Wall Street and the
Speaker 1: financial markets. The other is the real estate market, and
Speaker 1: the third of the arts, and that includes museums and
Speaker 1: all of the attractions that are in New York. I
Speaker 1: was wondering what that in my because Broadway is such
Speaker 1: a huge piston in the economic engine of the city.
Speaker 1: How much cooperation, how much assistance, how much attention did
Speaker 1: the state government give you. Obviously, we need the governor
Speaker 1: to sign off in order for us to reopen, because
Speaker 1: he has to agree to our protocols or dictate various protocols.
Speaker 1: So it's important for the state to work with the state.
Speaker 1: You probably have seen they have this new pop up
Speaker 1: program to bring the arts back to New York which
Speaker 1: are going to start in April, and so that was
Speaker 1: done by the state. So obviously we will work with
Speaker 1: the state in terms of protocols. I mean, our point
Speaker 1: is to bring back our cast crews and obviously our
Speaker 1: customers in a safe building so that we want them
Speaker 1: to come back, and we want them to come back
Speaker 1: in big numbers. We're gonna do whatever we can to
Speaker 1: make people feel safe in returning to our buildings. The
Speaker 1: Shubert Foundations CEO Bob Winkle. If you like conversation with
Speaker 1: extraordinarily successful business people, go to our archives. From my
Speaker 1: talk with Starbucks Howard Schultz, who says he never predicted
Speaker 1: the specificity of people's coffee orders, I'm told there's eighty
Speaker 1: five thousand gyrations to customization and Starbucks. I never imagined
Speaker 1: that customers would start telling people exactly what they wanted,
Speaker 1: But I think one of the drivers of our success
Speaker 1: has been our ability to customize what you want when
Speaker 1: you want it. Our original business plan when I was
Speaker 1: raising the original money was a hundred stores, and I
Speaker 1: was having a terrible time and I didn't have enough
Speaker 1: money to reprint the business plan, so I crossed out
Speaker 1: a hundred and wrote seventy five. I mean, that's how
Speaker 1: tight things were. Here more of my conversation with Howard
Speaker 1: Schultz that Here's the Thing dot Org. After the break,
Speaker 1: Bob Wankel talks about Broadway's role in helping New York
Speaker 1: bounce back from tough economic times in the past. I'm
Speaker 1: Alec Baldwin, and you're listening to Here's the Thing. The
Speaker 1: Governor of New York, working with health officials, will determine
Speaker 1: when Broadway theaters will reopen, but Bob Wankel says it
Speaker 1: will be a while. Theaters operating a reduced capacity simply
Speaker 1: can't cover the costs of putting on a show each night.
Speaker 1: The Governor did agree to reopen theaters with thirty three
Speaker 1: percent of capacity a hundred people or a hundred and
Speaker 1: fifty people max. Now, obviously a Broadway theater can't open
Speaker 1: with a hundred people are hundred fifty, but some of
Speaker 1: the smaller theaters can. We're hoping that as the vaccine
Speaker 1: rolls out better and the cases keep going down, which
Speaker 1: they have been doing quite nicely over the last that
Speaker 1: those restrictions will be eased. I mean, we don't see
Speaker 1: mess going away in the theater for at least through
Speaker 1: it the end of the year or longer. That will
Speaker 1: depend on protocols and concerns and safety. We have the
Speaker 1: same concerns over our cast and crew. I mean, the
Speaker 1: performers will be you know they as you know you've
Speaker 1: been in a number of Broadway theaters. There's not exactly
Speaker 1: a lot of luxury space there. People are working closely
Speaker 1: and obviously the performers cannot wear masks while they're performing,
Speaker 1: so we we are concerned. We've been working closely with
Speaker 1: all of the unions and the gills. I would imagine
Speaker 1: backstage you've got to be even more diligent because if
Speaker 1: the cast goes down, if anybody gets sick back there,
Speaker 1: then you're right back to Squire one. Yeah, we don't
Speaker 1: want to have to open and then reclose. And so
Speaker 1: obviously the safety and the science is getting better, the
Speaker 1: testing is getting better. So hopefully the vaccine will be
Speaker 1: the real game changer that if they continue to roll
Speaker 1: it out and seventy and nine of those will take it,
Speaker 1: that is a game changer and will make people feel comfortable.
Speaker 1: So the COVID aside, there's also the concurrent economic damage
Speaker 1: to the city. We've had guests on the show to
Speaker 1: discuss the comparisons to the nineteen seventies and the last
Speaker 1: time the city was laid so low economically. One are
Speaker 1: the comparisons you think back to nineteen seventy five and
Speaker 1: the last financial crisis in terms of what happens to
Speaker 1: Broadway where we're in the period of this intense financial crisis.
Speaker 1: What happened back then, well seventy five was when Broadway
Speaker 1: was just coming back. A chorus line moved into the
Speaker 1: Sherbert Theater and that was a game changer. I think
Speaker 1: the last problem was really nine eleven when we shut down,
Speaker 1: but we came back in two days and the city
Speaker 1: and the mayor said, go to a Broadway show. Go
Speaker 1: to a Broadway show. That's all he said, every press conference,
Speaker 1: every day. Go to a Broadway show. And it made
Speaker 1: a difference, and New Yorkers came out and Broadway did
Speaker 1: extraordinarily well after nine eleven. And I do believe that
Speaker 1: people will come back to the theater in big numbers
Speaker 1: as long as they feel safe. People who once they
Speaker 1: feel comfortable, will of course come to New York for
Speaker 1: that thing. You can only get a New York roots
Speaker 1: or at that level. Someone said to me, what do
Speaker 1: you love most about New York? I said, you close
Speaker 1: your eyes at eight o'clock at night, and you know
Speaker 1: that the curtain's coming up on the greatest performers in
Speaker 1: the world, all on stages across the city. Ballet, opera, symphony, musical, drama, poetry,
Speaker 1: you name it. I mean, when eight o'clock, the curtain
Speaker 1: comes up and it's New York, it's New York. The
Speaker 1: greatest of the greatest are here, and people will come
Speaker 1: to avail themselves with that. However, a striking number of
Speaker 1: people are leaving the city when we have an economic
Speaker 1: crisis here. Do you think that there's a core of
Speaker 1: support for the arts in New York that you're worried
Speaker 1: about them leaving. We are the capital of the aucts
Speaker 1: in many ways, and I think people will come back.
Speaker 1: I don't think as many people that said they would
Speaker 1: never come back to New York. They're going to come
Speaker 1: back to New York and show the heart Alec. When
Speaker 1: you live in New York, the sickness is. The crazy
Speaker 1: thing is that when you live in New York, that's
Speaker 1: your town and it works for you, and you know
Speaker 1: where to go to get your coffee, and you know
Speaker 1: where to go to get your eggs, salad and your bagel.
Speaker 1: I remember in the early days when I first lived there,
Speaker 1: and I didn't have enough money to really appreciate it.
Speaker 1: And finally I dragged somebody to an event and we
Speaker 1: go see some symphony and the symphony starts and the
Speaker 1: tears are running down my face. Where a Carnegie Hall
Speaker 1: watching you know, Malla or something. And my friend said,
Speaker 1: why do you stress yourself to go from your home.
Speaker 1: You're in your living room and you're getting dressed, and
Speaker 1: you get in a car and you travel here and
Speaker 1: you stand in line you're going to sit down. She said,
Speaker 1: why do you put yourself through this? And I said,
Speaker 1: what is a greater act of self robbery than to
Speaker 1: live in New York and not avail yourself of the
Speaker 1: things in New York itself. My friend of the silly line,
Speaker 1: he said, that's like opening your Christmas presents and playing
Speaker 1: with the boxes is in New York. If you live
Speaker 1: here and you don't avail yourself of the things you're here,
Speaker 1: you might will move out. Well as you know. Just
Speaker 1: wait you start bringing all your kids to a Broadway
Speaker 1: musical and watch them light up. I it's so amazing.
Speaker 1: I just want to say. I don't think anyone in
Speaker 1: the entertainment business has my heartfelt sympathy more than you do, Bob,
Speaker 1: because you became the head of the most prominent theatrical
Speaker 1: enterprise and history just as COVID shut it down. Bob,
Speaker 1: what can you say? What a nightmare? And I can't
Speaker 1: wait for this to be over. I can't this to
Speaker 1: be over. Listen, the glory will be when it comes back.
Speaker 1: And it will come back, people will realize how much
Speaker 1: they missed the arts. They missed the arts they do
Speaker 1: we know that, we know how much they miss it.
Speaker 1: Bob Wankle, CEO of the Schubert Organization. While Broadway theaters
Speaker 1: are likely to be one of the last entertainment venues
Speaker 1: to reopen. Movie theaters are already selling tickets at reduced capacity.
Speaker 1: Pamela McClintock is the senior film writer at The Hollywood Reporter.
Speaker 1: She says that COVID nineteen accelerated the challenges that movie
Speaker 1: theaters were facing even before the pandemic. Attendance has been
Speaker 1: falling for years, right, but prices have gone up, so
Speaker 1: every year we have a record year, But that belies
Speaker 1: the fact that attendance has actually dropped. So they were
Speaker 1: already struggling when COVID hit, and and the struggling was
Speaker 1: because of streaming. I think the struggling is for numerous reasons.
Speaker 1: Gaming to go completely different. Media has taken their attention, right,
Speaker 1: or they don't want to pay that much to go
Speaker 1: because the night out of the movie is, right, you
Speaker 1: have to pay a babysitter. Let's see, your company have
Speaker 1: to pay a babysitter. You have to pay for concessions.
Speaker 1: It can easily cost like a hundred dollars when all
Speaker 1: of a sudden done right, you know. Lauren Michaels once
Speaker 1: joked with me. He said that the cartoon he envisioned
Speaker 1: was two young men or standing. One has an iPhone
Speaker 1: and the other one says, what are you watching? And
Speaker 1: the guy hold the phones is Lawrence of Arabia on
Speaker 1: an iPhone. That we've completely lost, We've completely lost the
Speaker 1: magic of cinema as we know at across high Do
Speaker 1: you think that's true. I think it's in jeopardy. And
Speaker 1: I think that people will want to get to the
Speaker 1: house when the pandemic comes back, but I think it
Speaker 1: will be difficult, difficult, how difficult. Whereas let's say there
Speaker 1: was the population that went to the movies once a year, right,
Speaker 1: maybe somebody like me it was a little bit older,
Speaker 1: doesn't like crowds, and then with the pandemic, will I
Speaker 1: ever return? Frequent movie goers have always made up the
Speaker 1: biggest chunk of the audience, and you know that may
Speaker 1: not change. But the number of people that, let's say
Speaker 1: go to the movies once or twice a year, if
Speaker 1: that changes, theaters are in a lot of trouble. Well.
Speaker 1: I think there's a couple of points that could be
Speaker 1: made about this principle, among which is that I think
Speaker 1: people are going to the movies last, especially grown ups,
Speaker 1: because there's not much there for them. You know, It's
Speaker 1: like a diamond shape. You know, at the top is great,
Speaker 1: at the bottom is pure crap, but in the middle
Speaker 1: of the thick middle of it is all forgettable. Is
Speaker 1: something that can't be perfectly enjoyed on a computer or
Speaker 1: on a flat screen in your home. Do you think
Speaker 1: that's correct. I think there's an argument to be made
Speaker 1: that actually mid range movies may prosper post pandemic, because
Speaker 1: I think people will want to get out of the
Speaker 1: house and a movie like Nomad Land does look beautiful
Speaker 1: on a big screen. But the question is, will Hollywood,
Speaker 1: you know, leave those movies in theaters or just put
Speaker 1: them on streaming? Right? And that's to your point, what
Speaker 1: will the studios provide that product to the theaters? But
Speaker 1: I mean I wonder also what might the changes be
Speaker 1: in film exhibition, Like how many theaters serve booze? Now
Speaker 1: I don't know the percentage, but I would, right would
Speaker 1: imagine maybe more will right, I wonder what are the
Speaker 1: changes that they're going to now allow the movie industry
Speaker 1: is going to go to the government's local or whatever
Speaker 1: and say, hey man, we need a little help here
Speaker 1: to get people back let's open a bar. Yeah, there
Speaker 1: is an argument to be made that the more luxury
Speaker 1: cinemas will do better than the non luxury in the
Speaker 1: postdemic world. I mean, I wonder if movies will creep
Speaker 1: toward Broadway where the tickets become so expensive that it
Speaker 1: becomes an experience You don't You just don't have that often.
Speaker 1: The mp A just released their annual movie going report,
Speaker 1: and what is your analysis of that? Well, this speaks
Speaker 1: to your fact about mobile It says last year, for
Speaker 1: the first time, globally, streaming subscribers hit one billion, you know,
Speaker 1: just exploded. And it says here that more than of
Speaker 1: children and more than fifty of adults were watching movies
Speaker 1: and TV shows on their mobile devices, which is crazy.
Speaker 1: The idea of watching anything on the phone is just
Speaker 1: preposterous to me. What about you here, you are covering
Speaker 1: this quadrant of the business. How do you consume movies
Speaker 1: and TV? I really like the biggest screen I can
Speaker 1: get in the home. I'm of the age and the
Speaker 1: generation to the idea of watching something on a phone
Speaker 1: is just insane to me. I have no no interest
Speaker 1: unless I was desperate and I had no other resources.
Speaker 1: You know, when you said that the business wasn't doing
Speaker 1: that well before the COVID and that the prices were
Speaker 1: going up, but the ticket sales were going down. So
Speaker 1: they had record sales. They were all doctored because the
Speaker 1: prices were regulated. When you get into the COVID period,
Speaker 1: we see these changes. We see these changes that are
Speaker 1: going to have an impact on festivals and marketing. They're
Speaker 1: gonna have a impact on exhibition. And I want to
Speaker 1: ask you about that specifically, which is that when Warners announced,
Speaker 1: when they said we're gonna stream what was it wonder Woman? Yes,
Speaker 1: described what happened with that? Why was it a shock?
Speaker 1: There was some movie that were getting delayed again and
Speaker 1: again and again. Wonder Woman was one of them, delayed
Speaker 1: from being exhibited in the normal way theater. Yes, because
Speaker 1: you know when the when COVID first hit, everyone thought, oh,
Speaker 1: we'll be back in two weeks, or we'll be back
Speaker 1: in a month, or okay, so we'll move this movie again.
Speaker 1: And so finally with Wonder Woman, they talked to the
Speaker 1: exhibitors and they said, we want to do this plan
Speaker 1: where we released it in the cinemas that are open
Speaker 1: and on HBO Max and Christmas Day and the exhibitors
Speaker 1: were okay with that because they need product. But then
Speaker 1: Warner Brothers rocked the town a few weeks later when
Speaker 1: announcing they were going to release their entire slate on
Speaker 1: HBO Max and in cinemas, and people went insane. Did
Speaker 1: that violate a contract they had with the exhibitors. It
Speaker 1: doesn't violate the contract, but it sort of strains the goodwill.
Speaker 1: So there was no contract exhibitors had with the studios
Speaker 1: to guarantee that they had the first crack at their release. No,
Speaker 1: but in past times, if the studio did that, the
Speaker 1: theater would just say we're not playing it. Take a walk.
Speaker 1: But now theaters are in such a quandary because they
Speaker 1: need products, so they're willing to take it even if
Speaker 1: it's debuting on streaming. But it's still a difficult proposition.
Speaker 1: I know that here on Long Island, the Hampton's Film Festival,
Speaker 1: which is the one I'm heavily involved with. Like other festivals,
Speaker 1: no doubt that everything's been upended. But you know, out
Speaker 1: here we went and bought a couple of these inflatable screens.
Speaker 1: And for people who don't know how this works, you
Speaker 1: got you find a place out here. We have one benefactor,
Speaker 1: someone who's on our board, accessed the parking field of
Speaker 1: a private school out here, a big field that they
Speaker 1: only have a big piece of property, several acres, and
Speaker 1: we took their decent sized parking lot. They put up
Speaker 1: the screen there, and then you get a piece of
Speaker 1: equipment you buy that beams electronically the sound into the
Speaker 1: radio of your car and you dial onto a low
Speaker 1: frequency on the band and you get the sound for
Speaker 1: the movie in your car. You just have to turn
Speaker 1: on the FM radio when you're there. So we have
Speaker 1: everything we need. We have a limit of a hundred cars.
Speaker 1: Let's say let's say each car brings at least two
Speaker 1: and maybe four people, So we have a hundred and
Speaker 1: fifty maybe a couple of hundred people coming to each screening,
Speaker 1: which is for us, is decent. We're not out to
Speaker 1: make any money. It's not a revenue source for us.
Speaker 1: But it's all just about offering some programming, you know,
Speaker 1: while we can't during the COVID. So we did that,
Speaker 1: we worked fairly well. Then we wondered to ourselves, is
Speaker 1: it going to stay that way? What are the things
Speaker 1: that I talked about, the alcohol thing and what are
Speaker 1: the things that are happening they're going to remain? Did
Speaker 1: HBO did time warnant to say that as soon as
Speaker 1: the COVID is over there going to go back where
Speaker 1: they're going to keep it this way? They're saying they're
Speaker 1: going to go back, but no one is quite sure
Speaker 1: whether they really mean not right, I think what's in
Speaker 1: their interest? I think it's too early to say. I
Speaker 1: think it depends on how quickly we rebound and get
Speaker 1: back to normal. But I think drive ins, which is
Speaker 1: what you're essentially talking about in terms of what you did,
Speaker 1: I think they will stay fashion for like a couple
Speaker 1: of years. You've been covering this aspect of the business
Speaker 1: for how long? Almost fifteen years? What are some of
Speaker 1: the seismic changes you've seen in this world? It's funny
Speaker 1: one seismic change and I don't even remember what year
Speaker 1: this was, but I just watched it again. It involves you,
Speaker 1: and it shows me how much the kind of movies
Speaker 1: that are playing in theaters are have changed. Which was
Speaker 1: that movie Malice? I don't remember what yeready made that,
Speaker 1: but we shot it right, but it was that think
Speaker 1: about it. There was all those kind of adult drama
Speaker 1: thrillers that you don't see anymore in theaters. The middle
Speaker 1: movie left. Yes, we used to joke and say the
Speaker 1: thirty forty million dollar movie died. So movies, So movies
Speaker 1: now are five million dollars or two five million dollars
Speaker 1: and everything in between. You when you like when Nancy
Speaker 1: Myers did It's Complicated, and I did that movie with
Speaker 1: Meryl when we did the movie It's Complicated, and it was,
Speaker 1: you know whatever, the cost was eighty million dollars for
Speaker 1: spoken word comedy, no thrill, no action, no nothing. And
Speaker 1: that's the kind of movie that one of the last
Speaker 1: of its breed. You know that that one kind of
Speaker 1: got in there somehow. But all those movies like Malice
Speaker 1: and things like that, they died to make way for
Speaker 1: Mission Impossible. That type of movie, that big budget action
Speaker 1: thriller has squeezed everybody else out, or you'd have the
Speaker 1: very small movie like No mad Land. Is that what
Speaker 1: your experience has been. Yeah. Absolutely, it's gotten to the
Speaker 1: point where you have the big blockbusters and then once
Speaker 1: in a while you'll have a breakout and then you
Speaker 1: see the power of you know, the big screen experience
Speaker 1: because it becomes a water cooler movie and everyone has
Speaker 1: to see it like crazy Rich Asians was like that,
Speaker 1: but it's it's very rare anymore. Pamela McClintock, Senior film
Speaker 1: writer at The Hollywood Reporter. If you're enjoying this conversation,
Speaker 1: don't keep it to yourself. Tell a friend and follow
Speaker 1: here's the thing on the I Heart Radio app, Apple
Speaker 1: podcast or wherever you get your podcasts. When we come back,
Speaker 1: Pamela McClintock and I wonder if there is any living
Speaker 1: filmmaker who can restore the power of a theatrical release.
Speaker 1: I'm Alec Baldwin and this is here's the thing. Before
Speaker 1: the pandemic, films were usually released exclusively in theaters before
Speaker 1: being available for streaming. However, the pandemic has created a
Speaker 1: new set of challenges for studios as well. In December,
Speaker 1: Warner Brothers announced it will release its entire slate of
Speaker 1: projects in theaters and streaming on HBO Max at the
Speaker 1: same time. Despite the shock waves this cost in Hollywood,
Speaker 1: Pamela McClintock says, the collapse of the theatrical release window
Speaker 1: started years ago. It's called one word Netflix because Netflix
Speaker 1: came along and you know, it can go to a
Speaker 1: film festival, which I know you attend a lot of
Speaker 1: and know about the markets, and can spend fifty million
Speaker 1: dollars on a movie, so they can just out buy
Speaker 1: all the small distributors, right. I don't want to disparage
Speaker 1: Netflix because you know they for people who don't really
Speaker 1: appreciate I'd love to get your take on this because
Speaker 1: of your knowledge of distribution, you know, one day there's
Speaker 1: no market for their product. This includes syndicated TV thrives
Speaker 1: because there's nowhere else to go with the product. If
Speaker 1: I have a library of episodes of Friends Were Seinfeld,
Speaker 1: I'm going to send that to the affiliates around the
Speaker 1: country to rebroadcast that. And that's the secondary market for
Speaker 1: this abundance of all this TV because there's nowhere else
Speaker 1: to go. Then when someone comes up with Netflix and
Speaker 1: they say you can stay home and watch it on
Speaker 1: demand whenever you want, the on demand thing is critical.
Speaker 1: Obviously you can watch it on demand, then all hell
Speaker 1: breaks those But the thing for me is that once
Speaker 1: TV got that beachhead in people's homes, like there was
Speaker 1: like the fireplace, it was a gathering place. TV has
Speaker 1: thrived on the fact that you didn't have to leave
Speaker 1: your couch. I recall one company tested this in a
Speaker 1: kind of a sea level market somewhere Dayton, Ohio or something.
Speaker 1: It was like a small city. Before the movie comes on,
Speaker 1: it says, are you hungry? Click yes, Type in your
Speaker 1: zip code, click enter. Click what type of food you want? Greek, Asian, Japanese,
Speaker 1: Italian pizza, Click which one Enter Here's a list of
Speaker 1: the following restaurants in your area that deliver that food.
Speaker 1: Type in your order. Click send. Given your credit card
Speaker 1: information put in the gratuity. Movie begins. You're watching the
Speaker 1: movie bing Bong the food us. Press pause, Go to
Speaker 1: the door, get the food. Come back. While you're watching
Speaker 1: the movie, Press pause. This is the one that really
Speaker 1: killed me. Press pause. The A list actress is coming
Speaker 1: through the door of the hotel with a dress on.
Speaker 1: Press pause, Click onto the dress. Do you like that dress?
Speaker 1: Oh yeah, I love that? Gasp of yours that was priceless,
Speaker 1: But click on the dress. The car pulls up. Matthew
Speaker 1: McConaughey gets out of the car. Click the car. The
Speaker 1: following is a list of dealerships in your area that
Speaker 1: sell that car. The dress, the shoes, the car, all
Speaker 1: of it. Go shopping while you're watching a movie. Now,
Speaker 1: I found that chilling. The people that own the companies
Speaker 1: now are a different breed of people. Meaning when you
Speaker 1: have these conglomerates that own these entertainment companies who want
Speaker 1: these companies to perform, they've made an investment in these
Speaker 1: companies that they want money and they know there's a
Speaker 1: lot of money there. Potentially, they don't care what goes
Speaker 1: in there as long as it makes money, as long
Speaker 1: as it pays the rent. There are no creative people
Speaker 1: at the top of the networks or the studios now.
Speaker 1: They're accounting people, marketing people, their executives some companies who've
Speaker 1: been moved over where it's all monetizing money, money money.
Speaker 1: Do you agree? You just have to look at who
Speaker 1: is the companies? Right, A, T and T owns Warner Brothers, Comcast,
Speaker 1: A Catal company owns NBC Universal. Right Sony has been
Speaker 1: owned forever by electronics company. Yeah, electronics company. But yeah,
Speaker 1: and I think the race to streaming, everybody wants more subscribers.
Speaker 1: How do you get more subscribers You put more movies
Speaker 1: on your service or more series. So the question is
Speaker 1: where will the pressure be in terms of where you
Speaker 1: put your movies. The thing about Netflix, as we all remember,
Speaker 1: they started by sending you a DVD in the mail.
Speaker 1: Remember when the beginning of that Netflix was Blockbuster meets FedEx,
Speaker 1: Blockbuster meets ups. Don't leave your house. Here's the envelope,
Speaker 1: you mail it back towards. That seems like something out
Speaker 1: of the nineteen fifties now doesn't seem like. The big
Speaker 1: turning point was the idea of putting a whole series
Speaker 1: on a one time bing binging all ten episodes. First,
Speaker 1: Why do you think people want to binge? Why? I
Speaker 1: think if you're into a story, you don't want to
Speaker 1: wait a week, right, You're ready for it. You're ready
Speaker 1: for it. And Netflix doesn't have any ads. I mean,
Speaker 1: you know the difference. I'm sure when you watch broadcast TV,
Speaker 1: if you watch it anymore, you're like, WHOA, look at
Speaker 1: all those ads. I forgot what that world was like.
Speaker 1: I wonder if people like Scorsese, for example, who have
Speaker 1: been highly critical of streaming films, and will the Scorsese's
Speaker 1: of the world be able to say, hey, you got
Speaker 1: to show my movie in a movie theater only for
Speaker 1: a number of months. I'm gonna have a wide release,
Speaker 1: and I'm gonna say you can't have my movie if
Speaker 1: you stream it within six months or three months or
Speaker 1: whatever they think is right for them from the theatrical
Speaker 1: I wonder if that's gonna happen. We they're going to
Speaker 1: force them to keep the movie on screens. Who do
Speaker 1: you think has that power? What director is big enough
Speaker 1: to have that power. I don't think anybody has that power.
Speaker 1: I'm just being fanciful here, but I'm wondering, what is
Speaker 1: at all possible, What is in any way possible to
Speaker 1: lure people back to movie screens into movie theaters. Like
Speaker 1: you said, people want to get out. You know, it's
Speaker 1: the same thing with movie theaters and home screening. And
Speaker 1: I wonder what the casualty of that is. Is that
Speaker 1: the concentration that it takes to really enjoy a movie
Speaker 1: is gone. I want to digest that film the way
Speaker 1: the director intended me to digest that film, to sit
Speaker 1: and engage when that that film in a dark room
Speaker 1: and nobody talks, and I just you beam at me
Speaker 1: what you want me to take in, and I take
Speaker 1: it in and I breathe it in real time, and
Speaker 1: we don't press pause and all this other crap. I
Speaker 1: wonder if the death of that has influenced the kinds
Speaker 1: of stuff we have on like right now, I think
Speaker 1: the content of a lot of TV is very violent.
Speaker 1: There are shows I binge. I'll name you one example,
Speaker 1: and I don't want to name names. When they wrote
Speaker 1: themselves into a corner, they just started killing people. I
Speaker 1: wonder if research they're doing it's promptly them to make
Speaker 1: shows that it doesn't really matter whether you pause it
Speaker 1: or not. You don't have to be that engaged with
Speaker 1: it in the first place. Does that make any sense
Speaker 1: to you all? I think that makes sense, and I
Speaker 1: think for me personally, you know, I'm not going to
Speaker 1: name names, but there's some movies that all it is
Speaker 1: is buildings falling down and lots of noise, and it
Speaker 1: doesn't really captivate me. You know, it doesn't catch my attention.
Speaker 1: And you mean that not as a sign of your age,
Speaker 1: myself included, which is when we get older, we want
Speaker 1: something a little more thoughtful, a little more I think
Speaker 1: age for sure has a part of it. But I
Speaker 1: just you know, there's a series of movies that are
Speaker 1: incredibly popular, and I can't, for the life of me,
Speaker 1: can't ever watch them because they're so loud and so destructive.
Speaker 1: So we talked about how the impact of the quarantine
Speaker 1: has had on movie festivals, which are of course are
Speaker 1: big markets. Many people that don't understand, who are not
Speaker 1: in the business that when you go to a film festival,
Speaker 1: we don't just sit around and eat wine and cheese
Speaker 1: and kiss each other and take pictures with each other
Speaker 1: and watch each other's films. They're there to sell films.
Speaker 1: It's business. It's a pure market. Some festivals more arct
Speaker 1: than festival quite frankly, and that has been severely damaged
Speaker 1: by the COVID, and the festivals have had to use
Speaker 1: their thinking caps to get themselves out of that, which
Speaker 1: the one I work with it that they've done very
Speaker 1: they've done fairly well, although it's still horrible the drag
Speaker 1: on the business. Number two critics and what I'm wondering
Speaker 1: is you go to a movie and you have seated
Speaker 1: with their popcorn and their raisinnets and everything and their drinks,
Speaker 1: a crowd of the age appropriate demographic, and the Batman
Speaker 1: movie comes on, and they have nine different trailers before
Speaker 1: the Batman comes on. They have a whole twenty minutes
Speaker 1: of trailers coming out, or it seems there certainly feels
Speaker 1: that way of trailers all for movies of the same ilk,
Speaker 1: which is just violent men punching other men in the face,
Speaker 1: then getting punched out of windows and falling down the
Speaker 1: sides of skyscrapers. Violent movies, one after the other. However,
Speaker 1: this is marketing. You got that crowd there, that's your
Speaker 1: crowd there. They paid to see a Batman movie. While
Speaker 1: we have that captive audience, Let's tell them what else
Speaker 1: is coming? How is the COVID affected marketing of films
Speaker 1: and advertising of films? You kind of hit the nail
Speaker 1: on the head trailers in theater, trailers or your most
Speaker 1: important source of advertising. That's what I've been told. Yeah,
Speaker 1: that's been gone. And then what's number two is sports? Right?
Speaker 1: So sports or have been off TV? So what do
Speaker 1: they do? I've heard some funny thing, maybe gold for Nascar,
Speaker 1: that all of a sudden got a ton of movie advertising,
Speaker 1: Like can you imagine the dichotomy of that? You're literally
Speaker 1: people like she's lining up his spot. If he sinks
Speaker 1: this put, if he birdies this put, he will win
Speaker 1: the jacket. He'll be wearing the green jacket and he
Speaker 1: puts and people cheer, you go, We'll be right back
Speaker 1: after this word from the Avengers screaming and the smashing
Speaker 1: the cacaphony. Yeah, you're right. I'm not quite sure that's
Speaker 1: the best mix the movies and golf. Yeah, there was
Speaker 1: some what was it? Maybe tennis too? But basketball has
Speaker 1: been back on right. But I guess also with their
Speaker 1: TV shows, are they doing a lot of movie advertising
Speaker 1: on the TV shows they own because they own both? Yes,
Speaker 1: I think there's been a lot of TV advertising for
Speaker 1: TV shows on the sports as well. No, but know
Speaker 1: they advertising movies on television shows? Probably? I wonder about
Speaker 1: that because they own both products. Yeah, probably a big
Speaker 1: like Oprah Winfrey. I don't know if there's any movie adds,
Speaker 1: but that would have been I'm sure they would. I'm sure. Well,
Speaker 1: I mean that's a ratings bonanza. Yeah, they need money.
Speaker 1: What's one thing you hope to see when we come
Speaker 1: out of this? You want to see what from your
Speaker 1: perspective as covering this movie industry exhibition distribution for the
Speaker 1: Hollywood Reporter, what would you like to see when we
Speaker 1: come back. I'd love to see like people walk in
Speaker 1: the can red carpet again. They'd like to see a
Speaker 1: movie premiere if it's not virtual. The tradition, Yeah, I
Speaker 1: think the tradition and seeing people interacting. I think it'd
Speaker 1: be nice to go to the Beverly I don't know,
Speaker 1: some swanky Beverly Hills restaurants, see studio heads at lunch,
Speaker 1: you know, just some sort of normalcy, business as usual. Yeah, well, listen.
Speaker 1: Thank you very much, Thank you so much for tracking
Speaker 1: me down. Stay safe, Stay safe. Pamela McClintock, Senior film
Speaker 1: writer at The Hollywood Reporter. Hi'm Alec Baldwin. Here's the
Speaker 1: thing is brought to you by iHeart Radio. We're produced
Speaker 1: by Kathleen Russo, Carrie donohue, and Zach McNeice. Our engineer
Speaker 1: is Frank Imperial. Thanks for listening.